556-8 Fifth Ave, 
New York 


% ‘Ae a o'r e 
72-—Mabella’ “Oia : ri 
*e¢ G. D. Smith eee eee . 
- 73—Mabella, “Anne Blennerhas ; 
: 2140 VHS Black... faves tenn wee 
74—Mabella, “Young Gentleman,” 2 ee ei . 
We ACS Store? iso: on ee eee 40.00 
75—Mabella, Bade -pin Portrait of O- 
bear Connell,” 11%4x1l. <A. V. Leavens. 
—76—R. Cosway. “Young Lady with the 
Blue Eyes,” 4%x3%. H. Black.. 
77—One of the Peales, “Portrait a Lady of 
the White House,” 2%x2. G. D. 
“es See 5 ks ay oes 8 Re ee i 
78—One of the Peales, “Spanish Eikon,” ick 
844x634." G. _D. Smith Goo. ... ooo 


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OFF THE COAST OF CORNWALL 


BY GEORGE INNESS 


NUMBER 577 | 


| 


SALE NUMBER 1343 
ON PUBLIC EXHIBITION FROM SATURDAY, FEBRUARY 23RD 


ILLUSTRATED CATALOGUE 
OF THE 


VALUABLE PAINTINGS 


COLLECTED BY THE LATE 


_ JOHN D. CRIMMINS 


TO BE SOLD BY DIRECTION OF 


HON. MORGAN J. O'BRIEN, THOMAS CRIMMINS, ESQ., 
AND CYRIL CRIMMINS, ESQ. 
[ EXECUTORS | 


ON TUESDAY EVENING, MARCH FIFTH 
AT 8.15 O'CLOCK 


THE ANDERSON GALLERIES 
PARK AVENUE AND FIFTY-NINTH STREET 
NEW YORK 


: nk, ae 
i eo 
br a a 
: e. Sa Wy oy 


lien 
et 


B@evoriLON»- OF SALE 


All bids to be PER Lot as numbered in the Catalogue. 


The highest bidder to be the buyer. In all cases of disputed bids the 
lot shall be resold, but the Auctioneer will use his judgment as to the 
good faith of all claims and his decision shall be final. 


Buyers to give their names and addresses and to make such cash 


_ payments on account as may be required, in default of which the lots pur- 
_ chased to be immediately resold. 


Purchases to be taken away at the buyer’s expense and risk within 
twenty-four hours from the conclusion of the sale, and the remainder 
of the purchase. money to be paid on or before delivery, in default of 
which The Anderson Galleries, Incorporated, will not be responsible if 
the lot or lots be lost, stolen, damaged, or destroyed, but they will be 
left at the sole risk of the purchaser, and subject to storage charges. 


To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of purchases, no lot will be delivered during the sale. 


All lots will be exposed for public exhibition in The Anderson Gal- 
leries before the date of sale, for examination by intending purchasers, 
and The Anderson Galleries, Incorporated, will not be responsible for the 
correctness of the description, authenticity, genuineness, or for any defect 
or fault in or concerning any lot, and makes no warranty whatever, but 
will sell each lot exactly as it is, WITHOUT RECOURSE. But upon receiving 
before the date of sale, expert opinion in writing that any lot is not as 
represented, The Anderson Galleries, Incorporated, will use every effort 
to furnish proof to the contrary, and in default of such proof the lot will 
be sold subject to the declaration of the aforesaid expert, he being liable 
to the owner or owners thereof for damage or injury occasioned by such 
declaration. 


Terms Casu. Upon failure to comply with the above conditions 
any sum deposited as part payment shall be forfeited, and all such lots 
as remain uncleared after twenty-four hours from the conclusion of the 
sale, will be resold by either private or public sale at such time as The 
Anderson Galleries, Incorporated, shall determine, without further notice, 


and if any deficiency arises from such resale it shall be made good by the 


defaulter at this sale together with all the expenses incurred thereby. 
This condition shall be without prejudice to the right of The Anderson 


5 


eS ee ee ee a. or es 


bis 


Galleries, Incorporated, to enforce the contract with the buyer, without — 
such resale. | 


Bips. We make no charge for executing orders for our customers E. 
and use all bids competitively, buying at the lowest price permitted bye 
other bids. 


The Anderson Galleries, Incorporated, will afford every facility for a 
the employment of carriers and packers by the purchasers, but will not 
be responsible for any damage arising from the acts of such carriers and 4 
packers. 


Priced Copy of this Catalogue may be secured for fifty cents ae — 
session of the sale. 


THE ANDERSON GALLERIES 


INCORPORATED | 
PARK AVENUE AND FIFTY-NINTH STREET 
NEW YORK 


TELEPHONE PLAZA 9356 ‘CATALOGUES ON REQUEST 


SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN 


NOTE 


HERE have been few residents of New York more widely known 
than the late John D. Crimmins, and his collection of paintings 
described in this catalogue is a record of the taste and enthusiasm of the 
spare moments of his busy life. For some thirty years Mr. Crimmins 
was a regular visitor to the galleries of the dealers and the auction rooms, 
and his purchases included a wide variety of subjects and schools. It 
gives an added interest to the majority of the pictures in his collection 
that they were selected without regard to momentary fashion or price. 
Mr, Crimmins was not afraid at the Inness sale in 1904 to purchase » 
the splendid example “Off the Coast of Cornwall” (No. 57), or at another 
time the exquisite example of Bouguereau “A Babe for Baptism” (No. 
42), or the really great landscape of Constable (No. 55). He frankly 
admired the picture that tells a story, and here is an opportunity for the 
collector of individual taste to prove his faith in some of the old canons 
of art that bid fair to again become “new.” 


J 


LIST OF ARTISTS 


ALLEN, THOMAS 
ALLORI, ALESSANDRO 
BERAUD, JEAN 
BONINGTON, RICHARD P. 
-BOUGHTON, GEORGE H. 


BOUGUEREAU, ADOLPHE G. 


CEDARSTROM, THEODOR 
CONSTABLE, JOHN 
COROT, JEAN B. C. 
DEL GARBO, RAFFAELINO 
DE PINNE, CHARLES 0. 
DETAILLE, J. B. EDOUARD 
DIAZ DE LA PENA, N. V. 
DOLPH, JOHN H. 
DOMINGO, FRANCISCO 
DURAND, ASHER B. 
FRERE, PIERRE EDOUARD 
GIRARD, FIRMIN 
HAAG, JOHANN F. C. 
HARLOW, GEORGE H. 
HAAS, JEAN H. L. DE 
HOFNER, JOHANN B. 
HOLBEIN, HANS (THE 
YOUNGER) 
INNESS, GEORGE 
JALABERT, J. D. 
JETTEL, EUGENE 
KAUFFMAN, ANGELICA 
KNAUS, LUDWIG 


BARIGNY 
COMTE, P. 
COSWAY, RICHARD 


LABRONE 


PAINTING 
NO. 


PAINTING 
NO. 


27 KNIGHT, DANIEL R. Z 
39  KRICHELDORF, CARL 3) 
47, 50 LAMBERT, LOUIS EUGENE 20 
54 LASTMAN, PIETER 14 
16 LAWRENCE, SIR THOMAS 38 
42  MAGRATH, WILLIAM 62 
40 METTLING, LOUIS V. F. 41 
55 MIRANDA, JUAN C. DE Sve 
46,52 = MUNKACSY, BARON M. DE 34, 56 
48 NICOLL, ERSKINE 58 
24  OPIE, JOHN 1251 
22 PEALE, REMBRANDT 21 
35  PpIOT, ADOLPHE 19 
61 RANGER, HENRY W. 4 
44 —_- RENI, GUIDO 29 
6 REYNOLDS, SIR JOSHUA 25, 37 
a3 RIBERA, CARLO LUIS t 
17 RORKE, E. 5 
2, 49 ROSENKRANTZ, CARL H. i) 
31 SHEE, SIR MARTIN A. 18, 28 

36 
TAIT, ARTHUR F. 60 

59 
TENIERS, DAVID (THE ELDER) 33 
4s UNKNOWN (18TH CENTURY) 26 
37 VAN DYCK, SIR ANTHONY 43 
9 VERBOECKHOVEN, EUGENE J. 13 
63 VILLEGAS, JOSE DE 30 
23 WILLCOCK, G. B. 10 
11 WILSON, RICHARD 8 

MINIATURES 
PAINTING PAINTING 
NO. NO. 

68 |= MABELLA 67, 68, 69, 70, 71, 
67 (PRIOR NAT VEY be 
PEALE it ie The 
76 Rey 65 
64 RENARD 66 


SAGE [UESDAY EVENING 
MARCH FIFTH 1918 
PECOINNING AT -3:151 O'CLOCK 


CARL HEINRICH ROSENKRANTZ 


nie 
FRENCH SCHOOL G ID 


1835— 


Pete ook VIRGIN AND THE LILIES , 6. (hua 


_ A legend concerning Mary the Virgin is embodied in this pastel 
full of gleams and supernatural glories. It is before the annuncia- 
tion, and the Virgin sees a field of white lilies all about her, wonder- 
ful in their purity and the magical light that springs from them. 
Off to the left the light shapes itself into a slender cross that burns 
steadily as with eager eyes she watches the apparition from the 
right, her head and part of her body seen in profile. Remarkable 
handling of light and shade:as the flowers and figures emerge from 
the dark. 

Pastel. Signed Carl Rosenkrantz, Paris. Height, 20 inches; width, 
54 inches. 


> ail 


JEAN P. HAAG San 
FRENCH SCHOOL ee 
See OULREUL ARTIST dw, ¢. ge? 
A child of eight or ten years, neatly dressed, is perched on a / 


painter’s chair before an easel, and works away gravely at a flower 
piece, using the painter’s tools as if she understood them. Accurate 
drawing and a fine sense for color harmonies. The sideboard behind 
the figure, with bright pottery, the vases and sketches pinned to the 
wall above, are nicely wrought and kept in subordination to the 
figure of the busy little girl, The artist was born at Elbeuf and 
appeared first in the Salon of 1870. 

Signed and dated 1872. Wooden panel. Height, 9% inches; width, 
7% inches. 


— 


CARL KRICHELDORF Re es 


GERMAN SCHOOL £m 
3. PEASANT GIRL WITH ROSE ay oa 
Three-quarter length; a young peasant woman painted in the style 
of Frans Hals, by a painter of Munich or Diisseldorf. Her hands 
are crossed over a bodice which is richly embroidered with flowers. 
She shows her white teeth in a gay laugh that wrinkles the face 
about the eyes and proves contagious to the onlooker. In one hand 
she holds a rose with a glance of rustic coquetry. 
Signed to left. Canvas. Height, 29 inches; width, 22 inches. 


Oe merase Sete, 1911) t/G Z 60. - 


HENRY W. RANGER 


AMERICAN SCHOOL 
1858—1916 


OLD OAKS AND NEW 


The recent death of H. W. Ranger has renewed public interest 
in this sterling landscapist, who passed an apprenticeship in Holland, 
but devoted himself to American scenes for the better part of his 
life. He painted many superb pictures at Old Lyme and Noank, 
in Connecticut, drawn there by the noble trees and romantic scenery 
near the Sound. 

In this typical picture he expresses his love for the oak as mature 
tree or sapling; and he composed, together with pond, figures of 
men, foliage of different tint and distance delicately closed by a 
pearly sky, one of those rounded woodland scenes for which he was 
famous. Rich, golden notes throughout the wood seem to anticipate 
autumnal glories to come. 

Signed and dated, 1905. Canvas. Height, 28 inches; width, 36 
inches. 


12 


+ SN 
' 


E. A. RORKE Ae 


BRITISH SCHOOL Se ae fe 
5. HEAD OF IRISH PEASANT TM. Ms 


Capital character study by an Irish artist. Rorke pictures him in 
soft brown hat and gray hair and, perhaps a little maliciously, sug- 
gests by the expression of eyes and mouth that he is both choleric 

_ and crafty—litigious if he gets a chance with the law courts. 
Signed and dated, 1880. Canvas. Height, 23% inches; width, 20 
inches. 


Poiliekh Be DURAND, .P.N-A. 


AMERICAN SCHOOL Se Acc ) 


1796—1886 


6. VIEW OF WEST POINT ate a 


Ie 
An early painting by the chief and originator of the Hudson River a 
School of American landscape. It is a view of the windings of the 
river, taken from the hill above Garrison Station; it shows the 
rocky promontory on which the Military Academy is built, and the 
high crests of Cro’nest and Storm King mountains beyond. In the 
foreground are artists sketching, also a lady and horseman. On 
the river plies a steamboat of the vintage of 1825 or 1830, together 
with schooners, sloops and periauguas negotiating the baffling winds 
that make the passage of the Highlands so difficult for sailing craft. 
This is a’picture that ought to be in the library of West Point. 
It shows the original single barracks for the cadets rising above 
where Roe’s Hotel was built at a ‘much later date. Interesting as a 
relic of the beginning of the Hudson River School and valuable as 
a document in the history of the Military Academy. 
Canvas. Signed Durand, lower right. Height, 15%4 inches; width, 
2314 inches. 


DANIEL RIDGWAY KNIGHT / KS 
AMERICAN SCHOOL Pe 
ek alder Vellersi 


Pewee LOWER GATHERER 


By an American artist who has passed most of his life in France, 
pupil of Gleyre and Meissonier, influenced by Bouguereau and 
Cabanel, father of Aston Knight, a painter of note. Many medals. 
In 1909 he was promoted Officer in the Legion of Honor. 

Ridgway Knight is noted for his excellent drawing of the figure 
in oils and water-colors. Typical example is this peasant girl re- 
moving her cloak as she prepares to fill her basket with the flowers 
that stud the greensward near a quiet stream. Sabots and weather- 
worn skirts and cloak, modest face and unstudied garb proclaim her 
rank. 

Signed Ridgway Knight, Paris, lower left. Water-color. Height, 
20 inches; width, 14 inches. 
Bought of W. Schaus. 


13 


372 


Seb Foy 


RICHARD WILSON, R.A. 


ENGLISH SCHOOL 
1714—1782 


ITALIAN LANDSCAPE 

Before he made his mark in England, Richard Wilson, like Joshua 
Reynolds, passed some years in Italy. With a tree- clump to left 
and a hill bearing an old fort to the right, the vista lies across a lake 
to a distant sunlit range. In the foreground the red and blue dresses 
of peasant women give a color note and the region is further de- 
fined by the rude cross on a cliff over the lake in the middle distance. 
Before this cross two figures are praying with great emotion, if one. 
may see truly so far. The arrangement is true to the Wilson land- - 
scapes of the earlier period. Good atmospheric pe ck and. har- 
monious tones throughout. 
Canvas. Height, 20 inches; width, 16 inches. a 
From the Wynn Ellis oo Bought at the Dowdesmer &- 


ie sale, April 8, 1904. — Kio 4 Afe 
Drvaseuns Sate, /4//, #S7: B %00 


tgs / QO CHARLES FRANCOIS JALABERT 


VALE M8 9. 


FRENCH SCHOOL 
1819—1901 


THE ANNUNCIATION 


The announcing angel is seen in profile noldies a spray oe lilies. 
The Virgin is on her knees at a prie-Dieu to the right, and turns her 
face toward the vision with a look that is more sober than surprised. 
The blonde hair of the angel, the pinks and blues, are delicately 
wrought. A quaint recess in the upper wall gives a.medizval touch 
to the scene which otherwise is rather modern in feeling, and in no 
way Oriental. Clean and dainty brushwork serious and thoughtful 
composition. 

Signed. Canvas. Height, 21% inches; ae 16 inches. 
Bought of Ortgies & Company, New York, February, 1893. 


oh ee 


G. Bo WIEEGG 


ENGLISH SCHOOL 
1820—1852 


LANDSCAPE<WITEH OGD Ai 


Rural landscape in the style of Constable, remarkable for the 
cloud work, atmospheric quality and agreeable tones. Interest cen- 
ters on the distant old mill with its rushing water, though the atten- 
tion is first called to the girls with lunch baskets in the foreground, 
and to a busy couple of old people to the left loading hay on a 
donkey cart. A white cow to the right marks another point of 
arrest. 


Canvas. Height, 16% inches; width, 2378 penes 
4704 


. Bought at the Ehrich sale, March, 1906. ~ 


permet Sls IG #4 90- 


§ LUDWIG KNAUS 


; F 43 Fe 
GERMAN SCHOOL Lp ZB 


, _ 18291910 
41. SPRINGTIME UM Meynot ds 


A youthful blonde in a low-cut white gown and cherry ribbons 
represents with her prettily-molded bosom and candid eyes the 
season that all lovers and poets acclaim. Ludwig Knaus, born in 
Wiesbaden, for half a century was one of the most successful genre 
painters in Germany; he was Knight of the Order of Merit and 
officer of the Legion of Honor. He once lived in Paris, and later 
in Berlin. His village scenes, his Judengasse in Frankfort am Main, 
and his “Madonna, Bambino and Angels,” and his many other popu- 
lar canvases, have made him known in other lands. 

Signed and dated, 1881. Canvas. Height, 18 inches; width, 13% 
inches. 


me JOHN OPIE, R.A. oO OC 


ENGLISH SCHOOL 


1761—1807 SN. Meqalta 


a ae (PORTRAIT OF JOHN PHILPOT CURRAN 


Opie had a great vogue in England, not alone for portraits but 
for ideal pictures of a classical turn, nudes, etc. Curran (1750— 
1817) was Member of Parliament from Doneraile, Ireland, in 1784, 
and Master of the Robes for Ireland from 1806 to 1814. He was 
one of the brightest stars of the Irish bar, and still remembered as 
an Irish patriot. His likeness shows a clever, forceful face, a Mira- 
| beau in a way—far from handsome, but full of character. From 
: Lady Milford’s Collection. 
Canvas. Height, 24 inches; width, 20 hee 
Bought in 1909 from Aa Glen, Berkeley Square, Seg, Aner Spe iee 
balii ty Tus « hi tity tn. eh e7nd be) bey Maske LiAve , MV 2d 4 ton A, ad 0 Goh, Sale) 


C2 - ee By ( Ouhea aN eS. tw SEA Ay x 


EUGENE JOSEPH VERBOECKHOVEN — oY : 


BELGIAN SCHOOL 


17991881 6 Sdaies 
i tHE OLD WHITE NAG 


The animals painted by Eugene Verboeckhoven have held their 
own in the picture market for over half a century. He was born in 
1799 and died in 1881, so that he lived through the Napoleonic wars 
and the Franco-Prussian. His first love was modeling in wax, but 
paints prevailed; the firm, clean drawing and neat brushwork, when 
it is not carried to the point of “tight,” have a charm of their own, 
as we have to acknowledge, however we may acclaim other styles. 
The old nag, drawn in profile before the gable of a low farmhouse, 
has a fine head, and perhaps is a steed of good pedigree. Chickens 
and horse are carefully brushed in. 

On Wooden Panel. Signed and dated. Height, 23% inches; width, 
184 inches. 
Bought of S. P. Avery, Jr., 1894. 


Con tusneie Vale, /4// £3). BS SO. ~ 


PIETER -LAS Vaan 


ne 
lo 73 DUTCH SCHOOL 
ee 1562—1649 
is > af 
fe SOR Nea L BAA bacon PREACHING ~~ oa 


mS 7. Tal 


| 
i 
{ 


Lastman owes his chief fame to the fact that Rembrandt passed 
six months as his pupil, having gone from Leyden to Amsterdam 
for that purpose when he was about sixteen. Much more than 
Rembrandt he pictured scenes from the Bible without any signs of 
the Orient about them, yet we see his effort to give local color. 
While all the faces in this crowded field are Teutonic, the man on 
the extreme right, who seems to crush a patient white pony under 
his bulk, wears an unmistakable turban—of Amsterdam make. One 
of the listeners seated in the foreground shows a bare back all riot- © 
ous in big muscles. There are small turbans here and there, as if 
Lastman did not distinguish Jews from Mohammedans. Lastman 
was in Italy, but on his return showed no improvement in grace; 

uite the contrary. This picture may perhaps be placed between 
1610 and 1620. With all these defects from a historical point of 
view, there is dignity, there is a simple, straightforwardness in the 
way that Lastman has imagined the scene. The children’s faces 
are expressive. St. John is a bearded Teuton with a shawl round 
his draped figure, more like a Protestant preaching in the woods to a 
crowd of recusants in a strictly Catholic land. The figure of a young 
man in fur-trimmed scholar’s garb, who carries a big volume, is 
particularly good. The woman with baby and the pretty boy who 
looks around might well be Lastman’s family. A quaint picture, 
valuable in a museum that wants specimens of the painters of the 
Netherlands, and particularly one who knew Rembrandt as a stu- 
dent. Painted on a panel. 

Height, 43 inches; width, 32 inches. 


Bought at the T. J. Blakeslee sale, April To, 1902.~ h9S plso pees 


16 


E 


e2kULO LUIS RIBERA / 


“SPANISH SCHOOL 


1812— /849/ ov FY A MW [ayuetds 


Peete ITALIAN QUARTER, PARIS 


Not Lo Spagnoletto, but a modern Ribera, a Spaniard who was 
born in Rome and came to Paris later in life, where he worked under 
Delaroche. This canvas shows the quarter where Italian models 
and peddlers of figurines congregated. It takes in bric-a-brac and 
butcher shops, tobacconist, etc., but the interest centers about the 
kitchen on wheels where coffee and “snacks” are dispensed. Noted 
models are drinking and smoking, grouped about the movable cook- 
ing-place. Clever is the still-life—the pots and pans, antiques and 
Oriental objects. Natural poses, excellent tones, harmonious ensem- 
ble. Very actual, yet not photographic. : Va 
Canvas. Signed. Height, 13 inches; width, 20 inches. bu. w ‘ 
Collection of W. H. Stewart, 1898. Bought of S. P. Avery, Jr. 


V7 \¥ 95-8 2000 Ny 


trisaunia Vile, 191, # 892 $ [Ft ——~ 
(Age Richard ‘ge XxX 44) 


| 212 


SER .GEORGE.Hy BOUGHTO Nana RA. 
1834—1905 


a IZAAK WALTON AND THE MILKMAIDS 


George Boughton was born in England, but grew up at Albany, 
N. Y., and studied in the school of the National Academy of Design, 
New York, became an Associate, and after the Civil War went to 
Europe, where he painted in France and Holland, but made his 
home in London. The Academy made him a member in 1891. His 


success in London brought him a Knighthood toward the end of a 


busy, well-filled career. An adept in painting the fine complexions 
of Dutch and English women, his ideal figures and heads and his 
ability in telling a pleasing story in pleasant fashion made him a 
favorite, nor were his personal traits without influence on the side 
of popularity. The seventeenth century old gentleman who.is dis- 
playing a pike to buxom milkmaids can easily be recognized fora 
portrait of Sir Izaak Walton, the patron of those who angle in Nes | 
streams. Like Abbey, he was a famous illustrator. — 
Canvas. Height, 26 inches; width, 30% inches. 
Bought of S.P: Avery, Ir, 1894. 


18 


aD Ne 


Ue 


FIRMIN GIRARD 
FRENCH SCHOOL Wem. lke si0tde 


Born, 1838; pupil of Gleyre 


eens LOUT FRAIS!” 

A neat, trig damsel pushes her cart with white, red and yellow 
flowers, along the dilapidated wall of a building ruined by the Com- 
munards in 1871. It is near the Marché au Fleurs on the left bank 
of the Seine. With widely-parted lips the black-haired, olive-toned 
girl seems to be calling: Messieurs, Mesdames! flewrs tout frais! 
Note the earrings, and “observe how well the painter has done the 
water gushing from a spout in the building behind. Strong feeling 
for color in this facade and the flower masses. 

Canvas. Signed and dated, 1872. Height, 27% inches; width, 42 


inches. 
W. H. Stewart sale, February, 1898. M5 J /b00 ~y 


¥ 19 
fee F on mms pale, Pasme qu, €0F - D100 


} 


£.. ( CY 


we 


/ 4, SIR MARTIN ARCHER SHEE, P.RA, ‘4 
Zz 17701850 | | 


Z {8 PORTRAIT OF RICHARD BRINSLEY SHERIDAN 


Shee was a fashionable London portrait painter, born in Dublin, — 

| dL ridh Vallerich who became President of the Royal Academy on the death of Sir 

Thomas Lawrence in 1830. He published several volumes of verse, 
and wrote a tragedy called “Alasco,” which was refused a license by 
the censor after it had been accepted for Covent Garden Theatre, 
the censor holding that it contained treasonable allusions. 

Sheridan is depicted in small white tie-wig, ruffled shirt, blue and 
yellow barred waistcoat, dark blue coat with bee? gold buttons. : 
A valuable bit of literary history. es . 

~ Canvas. Height, 14 inches; width, 12 inches. 


y i: ADOLPHE PIOT 
4 : FRENCH SCHOOL | | 
Pupil of Cogniet Bie 2 

19. ITALIAN FLOWER GIRL eS i 
ie A brown-skinned little girl in brown skirt and white. waist sits © 
Me Te on a bench and smiles in an arch, rather wistful way, as if to beg 
i the passer to buy her flowers. Dull reds in apron and blossoms, — 

elegant tapering hands and plump arms. A graceful and winning 
figure. 3 
Canvas. Signed in right lower corner. Height, 51 inches; width, 


39 ches. 
Bought from Horace L. Hotchkiss, May, 1895. 


bri imein Sale, Ml, #94: J OVE 


I) LOUIS EUGENE LAMBERT 
i A FRENCH SCHOOL 
her [825 
20> MOTHER CAT AND Kite 
YolhawV A pupil of Delacroix, whose wild beasts are notable in art, Eu- 
4 rth gene Lambert made his name as a painter of cats and dogs. One 


old and two young pussies are in possession of an armchair uphol- 
stered in blue; a third kit has climbed on a stand for books. In 
front a white spaniel with red ears looks up in despair to see what 
frightful liberties mere cats are allowed in connection with costly 
furniture. The dog is brilliantly painted. A tapestry on the wall, a 
Delft jar with roses, all are wrought with the brush of a master. ~ 
Panel. Signed. Height, 10% inches; width, 13 imches. 

Bought from S. P. Avery, Jr., December, 1804. 


20 


ot ae eae 


ak. 


REMERANDT PEALE nf ae 


; 1778—1860 4 KS 
RaaAkLES CARROLL OF CARROLLTON Coe 


Rembrandt Peale was the son of Charles Willson Peale, of Phila- 
delphia, who made some of the earliest portraits of Washington; his 
brother was named Raphael. 

Canvas (slight scalings on features and background). Height, 24 
mches; width, 18 inches. 
Pal 


: J. B: EDOUARD DETAILLE 
FRENCH SCHOOL 
1848—1912 


Y 3 oe INCROYABLES 
Two dandies of the time of the French Revolution dressed in 
certain costumes dubbed “unbelievable” by the astonished people of 
| Wai a W that period. They saunter along a Paris park-path in an insolent 
| Ye fashion, appearing to regale one another with the latest scandals. 
ne mnwds Detaille is the noted painter of military events in the Franco-Prus- | 
sian War. Lively and witty piece. | 
Canvas. Signed, lower left. Height, 1134 inches; width, 834 inches. 
Bought of L. A. Lanther. | ety 


ANGELICA KAUFFMAN, R.A. 


a: BRITISH SCHOOL - 


4. 4 1740—1807 
| Z~ 23 


» MOTHER AND INFANT BOX 


| Although Swiss by birth, Maria Anne Angelica Catherine Kauft- 

My. ¥. Self man was oftener at Rome, Milan or Venice in her youth than at 
home. She was a youthful prodigy in painting and perhaps the most 
popular artist of her sex ever known. She was a great linguist, 
comely if not a beauty, and an excellent singer. Brought to London 
in 1765, and befriended by Reynolds, she appeared among the orig- 
inal members of the Royal Academy under a charter obtained from 
the King by Benjamin West. Her pictures are in all the great public 
art galleries of Europe. 

Although not a religious picture, the Madonna and Bambino are 
suggested by the pensive, adoring young mother and the nude boy 
baby who extends his hands in greeting, if not blessing. His right 
foot is held in the mother’s hand. He is elegant rather than babyish, 
and his gesture is oratorical. Sweet and gracious figures; fine tones 
in draperies. 


Canvas. Height, 24 ches; width, 20 inches. 
Dowdeswell & Blakeslee sale, April, 1904. #894 BHSO 4 


/) CHARLES OLIVIER DEE 
Sf Sig | FRENCH SCHOOL 
4 Z g full 1831—1897 
“hy 24. BEFORE THE HUNT 


A quiet scene in the forest, when the hunters of fox or stag are 
assembling. Only one huntsman (and he is in a red coat and black 
velvet cap, carrying the big French hunting horn) is in sight. He 
sits in the distance. In front is a gang of six stout hounds sitting, 
lying or standing in natural attitudes. Pleasing effect of soft sunlight 
2 on the wood-road. 

A pupil of Cogniet, De Penne devoted himself to hunting scenes 
and won medals with them in the Salons. 
Panel. Signed. Height, 1234 inches; width, 934 inches. 
Boughi of S:-P..\ Avery, Ir. 760g: 


Ze 


————— 


pre Ooty REYNOLDS,” PeRA. | 
BRITISH SCHOOL : ; 
a 17231792 F ORE) 
25. THE INFANT SAMUEL am Mantra 


Said to have been painted in Paris during one of his visits to 
France. Bust of young boy, almost in profile, with hands pressed 
‘together and eyes uplifted in prayer. In painting, attitude and ex- 
pression similar to angel-heads painted by Sir Joshua. 

Canvas. Height, 18 inches; width, 15 inches. 
From the Piogzi Collection. Bought of John Glen, London, rgog. 


——— 


UNKNOWN SEVENTEENTH CENTURY ARTIST 
PROBABLY FLEMISH SCHOOL 

r os se ivih Century ; IIS) 
)  ®@©26. ASCENSION OF ST.-FRANCIS OF ASSISI bu Pista 
| E ae The famous saint who loved birds, beasts and fishes is depicted 

rising on clouds into heaven, though partly sustained by a vigorous 

f : angel. Bold and firm drawing, energetic color, masterly composition 

ie - in a group of two figures difficult to manage. Note the fine blue of the 

A =< angel’s drapery and the red sunset gleams on the horizon below, 


which give life to the color scheme. 
Canvas. Relined. Height, 20 inches; width, 18 inches. 


Fe 
THOMAS) ALLEN, A.N.A. /2 


MODERN AMERICAN SCHOOL 


| 27. MAPLEHURST AT NOON V. p- Vear deo 
{ A large canvas painted in a large way, but with scrupulous care, 
by one of the best of living cattle painters. 

Under big spreading trees a herd of finely bred heifers, some 
score in number, has sought protection from the heat. An old stone 
fence runs back and uphill, where other cattle are moving over a 
bare, sunny upland. 
Canvas. Signed. Height, 28% inches; width, 42 inches. 
brismnin Sale, 19/1, ¢ 79-870. 

SIR MARTIN ARCHER SHEE, PRA. , 4 


BRITISH SCHOOL L+ cs 
1 oe, : 
28. PORTRAIT OF THE HONORABLE CAROLINE ELIZABEJH 
NORTON 


Sir Martin has been mentioned under No. 18 as a fashionable 
painter and something of a writer besides. The Honorable Caroline, 
granddaughter of Richard Brinsley Sheridan, was a writer herself, 
and prominent in London’s social life. She wears a red velvet beret 
or toque, with ostrich feathers, a white satin gown cut low, and a 
single large jewel at the breast. Probably a/ gown foraCaurt: + 
sweet, simple expression, far from that of a wit or society leader. 
Canvas. Height, 45% inches; width, 35% inches. 


Sedebmuye) Late 1898 hs place , 


. o 


- 
| 

: . 

) 


E GUIDO--RENI 


jet : BOLOGNESE SCHOOL 
~ Ghns 1575—1642 


A hard worker, and assisted by Albano and other pupils, Guido 
produced for churches and altars a vast number of wall and easel 
paintings in oil. St. John the Baptist was naturally in great de- 
mand. Here we have him as a youth, nude to the waist, with his 
left hand pressed pathetically against his breast, his eyes upraised 
and face foreshortened as he attests his loyalty to the Redeemer. 
A rude cross is in his right hand. Nice drawing of muscles and 
hands, of the chest and face. Tones of umber. A decorative altar 
piece painted in the spirit and perhaps by the hand of Guido Reni. 
This picture was presented by the Mumcipality of Naples in 1798 
to Marshal Macdonald (afterwards Duke of larente), being taken 
specially out of their Museum “as being one of their finest pictures,” 
It was brought back to France, and»came into the possession of his 
granddaughter, the wife of the Baron de Pommerent, and there is a 
letter from him to Madame de Boitsse, to whom the ‘Baron sold the 
picture. The documents which go with the picture include an auto- 
graph letter of Macdonald and various newspaper clippings and - 
letters bearing on the subject. 

Canvas. Height, 45 inches; width, 35 inches. 


JOSE DE VILLEGAS 


SPANISH SCHOOL 
1848— 


0. SBALBERDIER OF. THE, COURT 


One of the best of modern Spanish painters and a rival in fame 
to Fortuny, José Villegas won his way in France while Meissonier 
was at the height of his popularity. Rome also was an arena. A 
genre painter of great ability. Harking back to the days when the 
Moorish influence was still powerful in Spain, he depicts a halberdier 
of the King’s guard in a feathered tall hat, wide collar, leather 
body-coat, wine-colored shorts and turquoise stockings. He stands 
at attention, seen in profile, and wears a long basket-hilted rapier by 
his side, while he holds exactly upright a famous halberd with half- 
moon axe, a red staff studded with brass, and red tufts. He is 
outlined against a gorgeous hanging partly drawn, and with his pale, 
mottled face, looks the true henchman for a tyrant. A handsome 
greyhound seems to be inquiring why he stands so rigid. 

Canvas. Signed and dated, 1875. Height, 37% inches; width, 23% 
inches. 


brimmed Sle, 14, # ly > PAIS 
24 


GEORGE HENRY HARLOW P , 
BRITISH SCHOOL D AOC 
W87—1821 ie saat 
Sees PET KITTEN f f Weand 


Bust portrait of a beautiful young girl in her teens, who holds a 
kitten in her lap and tempts it to eat. She has a dreamy, wistful 
look that may refer to her unresponsive pet, since it refuses the 
bowl of milk; or it may refer to something else. She has brown 
hair and large, brown eyes; a red sash encircles the “baby waist” 
of the early nineteenth century. 

Canvas. Height, 26 inches; width, 30 inches. 
From the collection of Wiliam Walton, Cheshire, England. 


1917, Boghh, Waller . ken Coniton, fans (gs KAMX 


Sold. bdened Star dee bay 1efitgl. $/M/oMS 
,opndlay bald 896 ~K/8X — f Jas" 


YOUNG PRELATE 


MIRANDA 


JUAN CARRENO DE 


2 


BY; 


[NUMBER 32] 


26 


JUAN CARRENO’ DE MIRANDA 


_ SPANISH SCHOOL : O 4) 


16141685 4 
32, YOUNG PRELATE IN RED CAP AND COAT thik Callersis 


Carreno was a native of Asturia, studied in Madrid under Pedro 

de las Cuevas, and then with Bartolomé Roman, reaching the honor 
_ of painter to the Courts of Philip 1V and Charles II. His works 

are largely wall ‘paintings in churches and religious pictures. The 

canvas here shows his bold, vigorous style and love of color. The 

young prelate has large gray eyes and a nose not quite straight, a 

shrewd expression, and nothing but his habit to suggest the cleric. 

Carreno has indulged in a rather delightful play of shades of red, 

including the curtain, the crimson lips and red cheeks. The red hat 
and dress make this a highly decorative picture; unfortunately, we 

do not know the sitter. The habit is of velvet or plush, while the 

hat is a smoother material, perhaps a felt. 

Canvas. Height, 32 iyches; widgh, Zs inches. 

Ehrich Sale, 1006. — ®¥K7 4 

; [Sée illustration. | 


2h 


ee eee ee ee 


PS 


— 


5 


) pt j DAVID TENIERS (THE ELDER) 
ree FLEMISH SCHOOL 
Ahamapirand Got Gallen 1582—1649 


33, SEH EW aay olLOE ENN 


Teniers Senior was so thoroughly Flemish that it is difficult to 
believe he could have passed six years in Italy under Adam Elshei- 
mer; yet he is said to have imitated the style of Bassano to per- 
fection. The scene of feasting and quarreling and dancing at a 
village inn is more in the vein of his son David, more fitted to the 
subjects chosen by Teniers Junior and the native artists of his gen- 
eration. 

Very curious are the touches in this assembly of boors and burgh- 
ers that reveal a bygone age—the bagpipe and hurdy-gurdy for the 
dancers, the men in the rear who have differed and drawn knives 
and must be kept separate, one being hustled out of the inn gate— 
bounced we call it. Two handy-fisted women are the bouncers-in- 
chief. The pigs in fanciful styes which allow them to partake of 
the tumult by looking on—the drunkard being accommodated with 
a bed in the straw—this picture teems with the rude, jovial life of 
Old Flanders. 

Canvas. Height, 46 inches; ae 59 mches. 


— Orirdea well Klekule aes rs 12H pi foe 


BARON MIHALY DE MUNKACSY 309 J 


HUNGARIAN SCHOOL 


1846—1900 Y, Yr 


Stee yt LO THE BABY 


After his student years in Vienna, Dusseldorf and Munich (where 
he came under the influence of Piloty), the young painter Michael 
Lieb, from the town of Munkacs, in Hungary, sought Paris as the 
Mecca of artists. There great fame met him and high prices for 
his gigantic paintings. Austria was grateful for the reputation he 
won abroad, and made a Baron of him. 

This is a graceful genre picture, with the young mother in a blue 
tea-gown before a screen to the right and a group of two visiting 
ladies and the nurse displaying the baby to the left. These masses 
of light balance one another. From the dull red carpet and dull 
blue rug to the tapestry on the wall there is a constant display of 
cleverness in the way of still-life, a harmonious atmosphere that en- 
velops human beings and things. 

Note the distinguished brushwork and rich tones of the furniture, 
the old carved mirror, the macaw on his swing. On the wall is a 
picture that represents Hungarian peasants, a souvenir of Michael 
Lieb’s early career. 

Wooden panel. Signed and dated. Height, 42% inches; width, 59 


inches. 
Bought at Henry Hilton Sale, February 14, 1900.~ RON 4 ~b/oo+ 


29 


| 


earners 


cr NARCISSE VIRGILE DIAZ DE LA PENA 
x FRENCH SCHOOL 
— 1808—1876 
C\* 35. LADIES BATHING IN THE WOODS 
: ste The sweet melting tones and delight in the curves of the figure 
NY make this little group of partly draped women very typical of Diaz. 
yy It is probably an early bit. The reds and light and dark blues of the 
/ draperies are exquisite; a patch of blue sky shows through the rich 


wood. 


Canvas. Signed below on left. 


Height, 14 inches; width, 11 wmches. 
Collection Scdelmeyer. 


Bought of S..P. Avery, Jr., 1806. 
30 


fee HUBERT LEONARDUS. DE- HAAS ae Ve 


| DUTCH SCHOOL 
4 1830—1880 


poe oye IN LANDSCAPE 


i A wide rural view full of calm, remarkable for the atmospheric 
quality in the perspective and the light clouds drifting across the 
Sryeeieert, 1, de.Haas is one of the great. cattle painters whose 
animals vie with those of Troyon and Van Marcke. Two cows are 
prominent, a white and red, and a black and white; others are dis- 
persed through the background. By its quality and size a true 
museum piece. 

Canvas. Signed. Height, 45 inches; width, 59 inches 

Bought at the Mathiessen sale, April, 1902. — JK + G0 Oe 


31 


HO ,, 


449. Siulp 


) Po 


SIR JOSHUA REYNOLDS, P.R.A 


BRITISH SCHOOL 
1723—1792 


PORTRAIT OF EDMUND BURKE 


Pupil of Hudson, who inherited the Van Dyck tradition, Joshua 
Reynolds formed himself first in Italy an r in Holland’ where 
he was fascinated by Rembrandt’s pict: as in France and 
Flanders in 1783 and the next year as Court 
painter to George III, soon becoming the Royal 
Academy. : 

Among the many distinguished men who frequented his house 
was Edmund Burke, whose portrait is here. He has a quiet, intent 
expression. It is a half-length. He “wears his own hair.” as people 
used to say in the period of wigs, and his shirt front is laced; the | 
hands do not show. Sir Joshua was a diligent painter, yet found 
time to write and to deliver lectures that are still readable. He was 
prone to experiments in the use of pigments, and this has in some 
cases caused his pictures,to change wofully in color. 

Canvas. Height, 2834 inches; width, 23% inches. 


SIR THOMAS LAWRENGES is 


BRITISH SCHOOL 


I. t tit fay: bows | 1769—1830 


38. 


PORTRAIT OF LADY MARGUERITE BORSS a 


Sir Thomas was the last of the great British portraitists. Exactly ~ 
in the center of the canvas, the famous Lady Blessington makes a 
brave show with her long curls confined by a plain gold band, a- 
gown cut low, with a piece of jewelry (rubies) at her bosom, with 
her fine shoulders and high forehead. Margaret Power, Countess 
of Blessington, was born at Clonmell, Ireland. Her early life and 
first marriage were unhappy. After the Earl of Blessington’s death 
she settled in London and with Count Alfred d'Orsay, who had 
married her step-daughter, she became the hostess of one of the 
most celebrated Salons in London—and a writer of note! 
Canvas. Height, 12 inches; width, ro inches. 


32 


oe 


; 7 40. 


ALESSANDRO ALLORI =) 70 


TUSCAN SCHOOL 
: - 15351607 7 Ab Vee 
YOUTHFUL ST. JOHN THE BAPTIST AS THE ANNUN- 
CIATOR 


Young John th 
His rich red 
caught aga 


aptist is a girlish boy of ingenuous expression. 
olden, leopard-spotted goatskins are nicely 
e right side of his frame and open again 
below t thigh in a somewhat obviously intentional 
mannef. s with the right hand to the sky and gives you an 
intent sweet look. A finely decorative figure, it carries well at a 
distance. 

Canvas. Height, 43% wches; width, 32% inches. 


buinnnin Sie, 10, ¢59 > # I0.- 


BARON THEODOR CEDARSTROM 4 Che, 


SWEDISH SCHOOL 


3 1845— Vee Yehelo’ 
THE DOMINICAN’S ORCHESTRA 


Several elderly and old men in a monastery of Dominican fathers 
are playing divers instruments with due solemnity, the first violin 
being a middle aged prelate. All intent on the work, the interior 
suits them exactly... Observe the beautiful drawing and the har- 
monies of color, the atmosphere, the naturalness. Still-life in per- 
fection, from the carved ‘wood wainscot, wall pocket, alarm clock, 
brass lamp, religious pictures and musical instruments to the varied 
texture of the costumes. The lighting is very fine. Altogether a 
masterpiece of genre. 

Canvas. Height, 32% inches; width, 36% inches. 


Bought of Julius Oehme, 1808. / SE 
Yy/] uke { Co 
// i, =f be 


) Sea 
LOUIS VICTOR FELIX METTILING //2— 
MODERN FRENCH SCHOOL (1847 /90#) 2 


Peek AND HER CAT 


Mettling was born in Dijon and worked at Lyons in the school 
of fine arts, going thence to Paris where he studied under Cabanel. 
He was one of the best little masters of genre in his day and by many 
was preferred to Meissonier who was far more ambitious in his 
subjects. Mettling usually kept to simple subjects, taking to heart 
the talks of Denis Diderot in his “Salons” about Chardin. 

The little figure of the housewife or cook in her red dress and 
cream white apron has a delicacy of drawing and_purity of color 
that Chardin would have praised. The expectant cat and the still- 
life are exquisite in workmanship. 

Canvas. Height, 27% inches; width, 15% wches. 
From the Rothschild Collection. Bought of Ortgies & Company, 


1893. 
33 


a 
ml 
- 
Ay 
< 
pq 
a 
O 
ae 
ea 
OQ 
< 
pA 


A 
BY ADORE 


GUILLAUME BOUGUEREAU 


[NUMBER 42] 


34 


ADOLPHE GUILLAUME BOUGUEREAU 
_ FRENCH SCHOOL Png La Jd 
18251905 
42, A BABE FOR BAPTISM b. 4. Vedfon 


Bouguereau’s beautifully drawn and cool-colored figures are in 
all the art galleries of Europe and America. His one-time popu- 
larity waned before he died; but now his sterling merits begin to 
tell and his works are sought once more. Prix de Rome in 1850, 
medals in the Salons of 1855, 1857 and 1867; Legion of Honor in 
1859, officer in 1876, the French Institute the same year; medals of 
honor in 1878 and 1885, France at any rate gave him everything 
in the way of glory. 

The young Italian woman who kneels by a font with a nearly 
nude child of great beauty asleep in her arms is an example of 
Bouguereau at his best. Exquisite is the sensitive, rather sad face 

of the young mother, the pale olive of her complexion contrasting 
with the golden hair of the child. Bouguereau declined to follow 
the apostles of ugliness and was the chief target for their revilings. 
Canvas. Signed lower left. Height, 26 inches; width, 19 inches. 
- Bought from S. P. Avery, Jr., January, 1896. 


Ofimmis Sale, 191), ¢ 8¥ : $ 707.- 


FLEMISH SCHOOL 
1599—1641 


[Attributed to] Me 5. Myf 


43. MADONNA, CHILD AND ST. CATHERINE 


Anthony van Dyck belonged to a very widespread clan of artists 
of that name, more numerous during three or four centuries in 
Antwerp and Haarlem than elsewhere. A pupil of van Balen and 
Rubens, his work often reflects the manner of his masters, particu- 
larly Rubens, in whose studio he worked and whose models were 
his own. 

In this “sacred conversation” the Madonna is a Netherland type, 
somewhat Italianized, St. Catherine more frankly a blonde, round 
lady of the Rubens kind, as if the picture belonged to the period 
before van Dyck had cut loose from Antwerp and sought the fame 
that called him to Italy and England. The mouths of all are small 
and mannered. Delicious are the tones of old rose in the body gar- 
ment of St. Catherine, the greenish-blue cloak and brown wimple of 
the Madonna. Hard to say whether this is an original or a replica; 
at any rate, it shows a trace of Rubens along with much more of van 
Dyck. 

Canvas. Height, 38 inches; width, 31 inches. 
Collection of Bailey, Hampton Court., Shandoy, Collection. Bought 


at the Blakeslee Sale, April, 1905. - GS~ 1b 50 - 
[See illustration next page. 


35 


-SIR ANTHONY VAN DYCK _— 
ee 5 


CATHERINE 
DYCK 


[NUMBER 43] 
36 


CHILD, AND st. 


5 


BY .SIR ANTHONY =VAN 


MADONNA 


Sesamansip-Foicaeeaatisomdorned 


orem he scr 


A fh f’) 


FRANCISCO DOMINGO UYY 


MODERN SPANISH SCHOOL Y 4 
te ONG” Mb, 


Born in Valencia and a student in Paris, Domingo became a pupi 
of Meissonier, and after setting up for himself obtained astonishing 
prices for his carefully wrought genre pictures. In 1887 his natal 
city named a street after him. Easy, natural poses, good expression, 
fine rich hangings and costumes. 

Canvas. Signed and dated 1883. Height, 21% inches; width, 26 
inches. 


Ava 


HANS HOLBEIN THE YOUNGER ~~ 


GERMAN SCHOOL 
1497—1543 


45.--PORTRAIT -OF -DESIDIRIUSSERASMU sae r 


Holbein the Younger, along with Durer, a chief in German art 
history, left his native Augsburg for Basel, where, with his painter 
father, he settled down and joined the art fraternity there, took a 
wife, bought a house and paid his way to citizenship. He wanted 
to become a Swiss and ended by becoming court-painter to Henry 
VIII and a Londoner. Painter of oils and miniatures, caster in 
bronze and a marvelous draughtsman, he was also sculptor and 
architect. Nothing came amiss to this clever, manysided man. 

Holbein met the famous Dutch wit, satirist and scholar Erasmus 
in Basel, who advised him to try London and gave him letters to 
Sir Thomas More, through whom Holbein met the King and Court. 
There are portraits of Erasmus by Holbein at Basel, at Paris and 
Antwerp. This one gives the rough-hewn features, blue, shaven jaw 
and strong mouth of the writer. He wears a fur-lined, loose coat 
and a soft hat such as burghers wore. The hands holding a red- 
covered book rest on a parapet or stone balustrade. Hands and 
wrinkled face are well drawn, but somewhat harsh in color. It 
would be interesting to compare this portrait with those in Europe 
which are reputed to be original. 

Panel. Height, 1434 mches; width, 11% inches, 


38 


Low? | ae 2 
fle, Vv 


Meee DAPITISTE: CAMILLE COROT 


_ 


oe 
pee” Se 


FRENCH SCHOOL ein Selfents 


1796—1875 


feet ot LE IN LOMBARDY 


The outer wall and the towers of a castle crown a small hill that 
rises on the far side of a sheet of water. To the left of the latter 
a ferry-boat lies end on to the bank and a woman sits in it, whose 
basket a man, standing on the ground with his hand against a tree, 
is lifting out for her. Near him a path winds through the tangle 
of rich grass between birch trees. Another building appears on the 
slope below the castle, and there are hills beyond with a warm, 
vapory horizon. Wreaths of gray clouds float in the pale blue sky. 
Canvas. Signed at left. Height, 20 inches; width, 42 wtyches. 
Bought at the Mathiessen Sale, April, 1902.58 $72 a 4206 7 


39 


. e~ 


J as 
N. [Nach 


O 


47. 


JEAN BERAUD 


FRENCH SCHOOL 
1849— 


AFTER MASS: 8S. PHILIPPE DUALG a. 


Though not born in Paris, Jean Béraud chose that city for his 
clever, cleanly brushed pictures of modern genre. He excels in 
figures of French women of the wealthy class and the bourgeoisie 
fitted with their perfect shoes, tripping over pavements hot with 
summer heat or glittering from fallen rain. 

An English rather than French subject is the sortie of well-to-do 
worshipers after the mass in a fashionable church, rue St. Honoré. 
The various types of old gentlemen and ladies, elegants of both sexes 
of younger years, grooms and coachmen, are carefully told. It is 
realism clothed with fine tonal quality. 

Canvas. Signed. Height, 24% inches; width, 33 inches. 
Bought from S. P. Avery, Jr., March, 1893. 


40 


48. 


PearPARLING DEL GARBO 


ITALIAN SCHOOL / fw Peo /) 
1466—1524 7A 8 age 
MADONNA, CHILD AND TWO SAINTS La 


The Madonna has a hanging of rich carpet work behind her, like 
Giorgione’s masterpiece in Castelfranco. She raises her hands in 
adoration of the Bambino on her lap. She and the two saints have 
plain aureoles, that of the infant has a cross floriated. Saint Lau- 
rence, a beardless youth to the left, is known from the gridiron 
upright by his side; St. John the Evangelist to the right, with long 
hair and bearded face, is told by the eagle in the foreground near 
him. 

Panel. Height, 52 wmches; width, 53 inches. 
From Prince Sciarra-Colonna’s Collection. Thomas Agnew and 
Sons. Bought at Dowdeswell & Blakeslee Sale, April, 1904.=,K/57~ VSOO.. : 


41 y 


~ 49, 


Si 


IT batw 


JEAN P. HAAG 


FRENCH SCHOOL 


THE LITTLE DISH-DRIER 


In a humble interior with old fashioned overhang ares the 
light falls from a window to the right on a little girl seated primly 
on a heavy wooden chair. Very soberly and conscientiously is she 
at work wiping a decorated pottery dish with a towel: The light 
falls on a wall with pots and pans suspended from it, on a bowl in 
a stand, on a bottle and brown jug in the window-seat. Fine green 


and brown notes. Careful, clean drawing and attractive color—an 


excellent specimen of its kind after the manner of the old Dutch 
masters of genre. 
Signed. Panel. Height, 9% inches; width, 7% inches. 


JEAN BERAUD 


FRENCH SCHOOL 
1849— 


THE INTRODUCTION 


An evening reception before dinner, with more than a dozen men 
and women in dinner dress, the hostess greeting a file of gentlemen 
while the other ladies are seated on sofa and chairs to the right, 
resplendent in fine frocks, polished shoulders and feathers that nod 
above their ordered tresses. A well-studied, carefully painted docu- 
ment of social manners among the Parisian well-to-do classes under 
the last Empire. 

Canvas. Signed. Height, 1034 inches; width, 14 inches. 
Bought of Horace L. Hotchkiss, 1895. 


JOHN OPIE, R.A. 


ENGLISH SCHOOL 
1761—1807 


PORTRAIT OF A LITTLE GIRL 


A writer and lecturer as well as a painter of historical subjects 
and portraits, the Cornishman, John Opie, could moderate the rude 
vigor of his style on occasion. This bust portrait of a little girl is 
a case in point. The mob cap with broad pink ribbon sets off a 
charming little phys, and the square-cut dress, white with dull blue 
stripes, the banged hair and innocent expression complete a most 
charming, simple ensemble, full of color and vitality. It runs Sir 
Joshua Reynolds’s delightful little girl a close race. 

In oval frame. Canvas. Height, 1614 inches; width, 1334 inches. 
Bought from S. P. Avery, Jr., 1895. 


42 


feeeeN BAPTISTE CAMIL 


FRENCH SCHOOL 


1796—1875 


LANDSCAPE : : 
Somewhat conventional landscape by Pére Camille Corot, with a 


grove of tall trees to the left and a single young tree to the right, 


a pool, a hill and the top of a distant church in the background. 
Canvas. Height, 10 inches; width, 13 inches. 
From the S. P. Avery Collection. 


43 
pvt Vode, 191, # SS: 1700. 


O ‘PIERRE, EDOUARD FRERE 
FRENCH SCHOOL 

ea 1819—1886 
| So: LE Les COO lk 
| 4 q. 5S tu fo Pierre Edouard came of a family of painters and his son Ghaates 
4 a was a painter too. Pierre was a pupil of Delaroche. 

The little cook is a small girl seated very upright and busy, afew 

cabbage into a green bowl. Behind her chair is a basket and an end 

of table with bright flowers in a decorated vase. At the back an 
open wood fire, with big iron pot suspended under the overhang 
of the chimney front. 

She sits in profile, wearing a red waist, green over and brown 
under skirts, hair well over the ear. The green and red notes are 
superb—altogether a delightful Chardinesque bit of domestic genre, 
with every piece of still life carefully wrought. ig 
Panel. Signed Edouard Frere, 1861. Height, 12% inches; width, ~ 
o% inches. Ne 


: yO RICHARD PARKES BONINGTON 


Pa ENGLISH SCHOOL 
jo 12011828 
= 54. THE PROCESSION IN A CATHEDRAL CHURCH 


Though born near Nottingham, in England, Bonington studied at 
the Ecole des Beaux Arts in Paris, having been taken to France at 
an early age. He was a pupil of Baron Gros and seldom visited 
England. A rare talent was cut off when he died not yet twenty- 
eight. | 

The scene is the interior of a Romanesque church having later 
style roofs and windows of the Gothic period. The procession of 
priests and censer-swinging acolytes moves away from the observer 
toward the high altar seen beneath a curious rood that forms a kind 
of bridge which supports carved figures and is flanked right and left 
by graceful spiral stairs with open-work balusters. To the right, 
high up, a mass of red drapery lies over the triforium that runs 
about the interior. In the dark vault of the apse is a glimpse of 
stained glass. Fine effects of light and shade, rich atmospheric 
qualities, contrast of procession, banners and crosses moving away, 
with the quiet worshipers under the rood. A fine piece glowing with 
color, yet subdued, it explains the high opinion of ae enter- 
tained by the French. 

Canvas. Height, 38 inches; width, 28 inches. 
Bought from T. J. Blakeslee. 
[See illustration opposite page.] 


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595; LANDSCAPE WITH DISTANT] VitEAGe 


rs This canvas has all the traits that caused the paintings of Con- 

2A stable to be so influential with British and French landscapists 

r between 1810 and 1830. The robust, colorful and downright quality 
of its workmanship was a relief to the cold and niggling pictures 
of the day. There is character in the cloud forms, in the trees and 
in the land, a vigor and brio more easily felt than expressed in 
words. It is just nature. 

In the color-scheme the two figures of the foreground and the 
red-tiled roofs of the hamlet in the distance play their parts. A really 
great landscape. 

Canvas. Height, 25 inches; width, 30 inches. 


46 


36. FEEDING THE FAVORITE 


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BARON MICHALY DE MUNKACSY 
HUNGARIAN SCHOOL cia A ) 
1846—1900 J 66 


The interior is a large room with tapestries and pictures on the 
walls, French windows to the left, a screen to the right. At a table, 
in back, a young woman in blue gown is seated and feeds a stag 
hound whose back is toward the observer. Above on a swinging 
perch is a red and blue macaw. To the right, leaning her elbows on 
the back of an arm chair, stands a lady in profile wearing a pale pink 
crépe morning dress. This room is rich in color and full of inter- 
esting objects beside the living people and creatures. 

Munkacsy took Salon medals in 1870 and 1874, the Legion of 
Honor in 1877, the grand medal in 1878 and become officer of the 
Legion. He took Grand Prix in 1809 and the next year became 
Commander. 

Canvas. Height, 32 inches; width, 42 mches. ys 
Bought at the sale of the Powers Collection, January, 1899-%& fs 


47 
dpimmina Sale, 191), £1 ff WG2- 


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\ 0 GEORGE INNESS, N.A. 
: AMERICAN SCHOOL 
b 4 . deerme Tait _ 18251894 

o/ (ORF THE COAST \Or-CORMVWedals 


Inness painted this canvas in his sixty-second year when he had 
won such command of his brush that he could change a landscape as 
A swiftly as the weather turned. Here, on the craggy coast, he depicts 
~? one of those sudden alterations of the day from bright to murky 
which are often seen on the Cornish coast. A heavy blow is fore- 
shadowed by the whirling clouds and the fishermen are putting to 
shore. One boat with sail shipped is being hustled through the surf; 
another is dousing sail in the white smother and farther. out other 
boats are making all speed for the land. Crags to the left, a greenish 
boiling surf to the right, the storm clouds closing in overhead—all 
is action, flight, steady work for a harbor from the storm! The light — 
through the holes in the clouds where blue sky shows in patches gives —__ 
a mauve tint to the colored sail that lies in the boat being run up 
the beach. 
It is a stirring, splendid example of George sepees in his best. 
17 ‘period. 
4 Signed and dated, 1887. Canvas. Height, 26 oe width, 31 


aa inches. Bancpafior j 
‘ ' Bought at the Inness Sale, February, 1904. Ge 
a Sty re 


[See frontispiece. |] 


ema Yeas ge fuser ‘by Vamqufidd atin £6; 
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ERSKINE NICOLE Se 


SCOTTISH SCHOOL 
14 y ie 


1825— 


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398. A CROW TO PLUCK, OR, RECKONING Vr 


: 4 r s6 é 4 A fellow Scotsman if not a rival of Wilkie, this member of the 
eZ Wn Royal Scottish Academy has a knack of telling a story with a good 
deal of dour Scot humor. The hardfeatured man seated by the deal 
table is in a quandary, and he cannot extract comfort from the big 
knob of his big stick which he presses to his mouth. The white- 
capped woman behind the board leans her clenched fist on the table 
with deadly emphasis, even the little girl with her back turned to us 
appears to realize that her mother has “got him.” What this domestic 
war is about, the artist is too wise to explain. The picture has two 
titles: “A Crow to Pluck” and “Reckoning the Cost.” At cost of 
time and trouble you can ponder the reason and take your pick. 
Strong, Scottish types, good still-life—powder horn on the wall, 
jugs on the table. Erskine Nicoll is as much at home in Ireland as 
in Scotland. 
Canvas. Signed and dated, 1856. Height, 13 inches; width, 16 
inches. 
Bought from S. P. Avery, Jr., November, 1806. 


48 


Pon NN Ye BA PLIST HORNER —_ 
GERMAN SCHOOL, PUPIL OF PILOTY 3 Ps %S 
i 


eH hARING THE/SHEEP 


This is a family scene from Bavarian rustic life, a whole family I50 
engaged in the washing and shearing of the little flock of sheep. In a 
the background the men are scrubbing the patient beasts, knee deep /7~ 
in the lake, while ashore in the foreground the woman folk are 
relieving the hobbled critters of their wool. A little boy has caught 
up his favorite lamb in fear that it also will be subjected to such 
indignities as a bath and a hair cut and presses the small beast to 
his breast. An animated scene with figures of human beings and 
animals handsomely wrought on a grand scale. 
Canvas. Signed and dated, 1871. Height, 65 inches; width, 9o 


| inches. 

| APTMUR F TAIT, NA. ie 

: ; AMERICAN SCHOOL ee yy 

4 1819—1905 z 

‘® 60, “JACK IN OFFICE” 4.9. beruvan’ 


Landscape and cattle pieces were the subjects that interested 
| Arthur F. Tait, and for many years he found New York and other 
| cities favorable to his work. Very often, as in this painting, he 
Ee made a genre picture out of a very conscientious, well-painted com- 
position with animals as the actors. Elected member of the National 
i Academy of Design in 1888. 

The interior of a barn offered him a chance to display no little 
cleverness in the handling of light. The sheep are well grouped and 
the center of interest is a Scotch collie whose intelligent head and 
intense air, vibrating with the importance of his employment, reflect 
very neatly the title of “Jack in Office” and give a flavor of dry 
humor to the scene. Excellent drawing of dog and sheep; adequate 
coloring. A capital bit of animal genre. 

Signed and dated, 1885. Canvas. Height, 24 inches; width, 36 

inches. . 

Cigars Sate, 1911, £3: Ff 400.— ae en 
| JOHN H. DOLPH, N.A. 6 


AMERICAN SCHOOL 


’ ee ny 
1835—1903 Eee Se 
61. WEAVER ON THE OLD FARM LOOM 
Best known for his pictures of dogs and cats, John H. Dolph by 
no means confined himself to animal pictures. He shows the big 
loom with its heavy wooden frame and before it, her back turned, 
an elderly countrywoman who has retained the skill taught her in 
youth. To the left a bit of the farm that indicates how the loom 
occupied in some cases a separate frame building of its own. 
Natural and pleasing pose without an attempt to prettify the 
weaver. A dog in front sleeps as near his mistress as possible ; 
chickens outside the door. Simple, straightforward work; sound 
painting. 
Canvas. Signed. Height, 22 inches; width, 30 ches. 


49 
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WILLIAM MAGRATH, N.A. 


() IRISH AMERICAN SCHOOL 
1838— 
62. 


THE COLLEEN BAWN 


| : Born in Ireland, this sterling artist in genre came antl to America, 
a She: Mev but made many visits of ae fees to the British Islands, so 
that he has become known distinctively as a painter of Irish subjects. 
At present he is in New York. His election to the National Academy 
of Design dates back to 1876. 

This is one of his neatly turned sketches of a single figure, a 
powerful young colleen bawn standing in the doorway of an Irish 
thatched-cabin. It is more than a sketch, it is a carefully painted 
figure that represents a type of rustic womanhood fast disappearing 
from Ireland owing to the improved conditions of the “foinest pis- — 
antry’ on the “ould sod” and to the drain of emigration to the 
United States, Canada and Australia. Truthful and sober; decora- — 
tive in tones; expression of a strong character in the barefooted 
lass. 

Panel. Signed “W.M.” Height, 6 inches; width, 4% inches. 


EUGENE JETTEL 
1845—1901 


1 06 LANDSCAPE WITH Cz Tee 


f h 
a, Although he has always passed for a French or Belgian artist, 
Eugéne Jettel was born at Johnsdorf in Moravia, so that by national- 
: Kea oy ultjes ity he was Austrian. But after studying with Zimmermann in Vienna 
q he came at twenty-one to Paris where he entered warmly into the 
views of Corot, Rousseau and Dupré concerning jandscape. At the 
Exposition Universelle he won the cross of the Legion of. Honor 
and in 1900 at the Salon was noted for his “Holland Landscape” 
and other pictures. Jettel died in Trieste in 1903. 

This landscape is typical of Holland and remarkable for the fine 
distances, the melting perspective, the “atmosphere” and the dis- 
creet, reserved handling of the clouds. The “beef critters” are so 
painted as to recall the work of Van Marcke and other eminent 
cattle painters of twenty years or more ago. 

Canvas. Signed and dated, Paris, 1889. sae 1314 inches; width, 
16 inches. 


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67. 


OO. 


MINIATURES 


LABRONE 


Oey OF THE WONDERFUL TRESSES. | 
A young woman in low-neck white, with balloon short sleeves and 4, 4. Soyer’ | 


long tulle over-sleeves wears an erection of tresses on the top of 
her head which may well be called incroyable. | 

This miniature is by Labrone of Paris, signed and dated, 1832. 
Very delicate penciling and nice tones of complexion, hair, pink 
girdle, etc. Painted on thin ivory. Oval miniature in the oval black 
frame of the period, 4 by 3 inches. 


REMY 
FEMME AU MANCHON 
The “woman with a muff” is a free translation into miniature of 


the painting by Mme. Vigée Lebrun of her daughter. Rémy has 


played his colors deftly, the feather corresponding in hue to the sash 
round the waist, the gray felt hat harmonizing with the powdered 
hair. The painting from which this miniature is adapted is considered 
Mme. Lebrun’s best work. Neat workmanship and gay expression. 
Round miniature on thin ivory, 3 inches in diameter. 


RENARD 


Tae -CuATELAINE 


Three-quarter length of a noble lady of the sixteenth century with 
hair and hat of a later date. Delicate and finished work on feathers 


of hat and fan, lace and rose, eyes and mouth. Probably portrait 


of a prima donna in some medieval role. Paris work, early nine- 
teenth century, on thin ivory, oval plate, 434 inches by 3% inches. 


Pe COMTE 
1817 


MADAME PAULINE BONAPARTE 

Very exquisitely wrought is this likeness of the handsomest sister 
of Napoleon Bonaparte. Not only has Comte spent great care on 
the camel’s-hair shawl, the blue-gray satin “Empire” gown and the 
greenish curtain looped so as to make an effective background to the 
deftly painted head; but he has put a distance of hills and clouds 
that may, for all we know, offer an allusion to Italy. Square ivory. 
334 inches by 3% inches. 


51 


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BARIGNY 


> HEY OONG TN BO en 


Fancy portrait of the little boy on whom Napoleon based his 
hopes of perpetuating his family on the throne of France. The King | 
of Rome, called later the Duc de Reichstadt, has been recalled in 
recent years by Rostand’s play acted by Sarah Bernhardt. _ 

This miniature shows him about six years old, wearing the star 
and sash of an order, a green coat and wide lace collar, curly brown- 
ish hair and large blue eyes. Round ivory. Diameter, 3 inches. 


MABELLA 


LOUISSSEIZE OR) HiinGer 


Half length miniature of the king who perished by the guillotine, — 
giving his kindly plump features, but introducing into the eyes a — 
touch of the anxiety he suffered while his country was preparing to 
destroy him. Very skilful brushwork of the period, 1800 to 1840. 
Oval ivory, 3% inches by 234 inches. 


Pe OUN TRY Sai erate 


Miniature picture of a Fete in France at the gates of chateau, the 
gate terrace of which is seen on the right. On the outside of a 
theatrical booth one sees the manager calling to the people while 
Harlequin gives Pierrot a kick extra. Coaches and sedan chairs, 
gowns, costumes and umbrellas suitable to about 1750. Amusing 
eighteenth century sketch of French merrymakers. ‘ 

From the Peter Marié Collection. Paper board. 6 inches by & 


inches. 


QUEEN OF LOUIS XIV 


Portrait of the Austrian Queen of Louis Fourteenth in the im- 
mense hoops, tall hair masses and feathers. She is in full Court dress 
and appears between marble pillars’ and velvet curtains whose red 
contrasts with the rose and gold of her voluminous skirt. The 
Royal Crown on the cushion to the right; old fashioned flowers 
beyond. Old fire gilt frame. Early eighteenth Century ivory. 534 
inches by 434 inches. 


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QUEEN MARIE 


The dress is of the time of Queen Mary of Scotland, but if she 
is meant in this miniature it must refer to her youth when she was 
the wife of the young King of France. The lion on the escutcheon 
may refer to her family. Medieval stronghold and mountains in the 
background. A deftly painted, interesting miniature. 314 inches 
by 2% inches. 


ANNE, BLENNERHASSETT 


Portrait by an unknown artist of one of an Irish family of note. 
The Blennerhassetts have had a romantic history in some cases and 
one that is connected with America. Well drawn example of minia- 
ture work by an expert hand. Oval ivory, date about 1840. 3 inches 


-_by 2% inches. 


A YOUNG GENTLEMAN 


_ Neither the sitter nor the painter of this pretty bit of fine painting 
on ivory is known, the artist having left no record on the plate and 
the oval case not having so much as initials engraved. Oval ivory, 
date about 1830. 214 inches by 2 inches. 


Peo t-F iN PORTRAIT .OF O'CONNELL 

This form of miniature was very common down to 1860, but the 
great bulk of small portraits have perished. This is a likeness of 
an Irish leader of note and is appropriately framed in shamrocks. 
Probably a portrait of Dan. O’Connell. Oval ivory, 1% inches by 
1 inch. 


Pies KD) COSWAY 


ENGLISH SCHOOL 
1740—1821 


Meee PADDY WITH THE BLUE EYES 

This large oval miniature is signed by a painter who has the 
highest repute among the British in the past. Modeling of shoulders 
and bosom, drawing of dtaperies show his skill in painting on a 
small scale. The green flesh tints are boldly applied. The expres- 
sion is pensive; mouth and flowers in the hair are clear-cut in con- 
trast with the soft, loose golden hair. Large oval on ivory. 4% 
inches by 3% inches. : 


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ONE OF THE PEALES 
PORTRAIT OF A LADY OF THE WHITE House 


This is a likeness of “Dolly” Payne Madison, wife of President — 


James Madison, in accordance with an affidavit made by an heir of 

the adopted daughter of Mrs. Madison, which goes with the minia- 

ture. In 1899, Mary C. Kunkel, the daughter of Anne Payne 
Causten, wife of Dr. James Causten, affirms: 

“This is to certify that Miniature Dolley P. Madison by 

Peale, Lot No. 3 in sale of effects of Mrs. Dolley P. Madison 

; was bequeathed by her to my mother, Anna Payne, 

who was wife of Dr. James H. Causten and niece and adopted 


daughter of Mrs. Dolley P. Madison, and inherited by me from 


my mother, Anna Causten.” Signed “Mary C. Kunkel.” 
Quaint lace cap with ringlets escaping over forehead and ears, big 
hoop ear-rings, mannered mouth, double chin. 


Mrs. Madison appears in middle age, clad in Empire fashion. — 


The date might be 1820 to 1830. Nicely wrought by a practised 
hand. Oval ivory, probably by Rembrandt Peale. 2% inches by 2 
inches. 


SPANISH EIKON 


Old Spanish figure of the Madonna with Christ and St. Joseph, 
St. Anne and also two worshipers, one at each of the four angles. 
The work is like Greek eikons, partly raised, embossed, and tooled 
like book covers. Cupids with flowers over their shoulders decorate 
the outer part of the picture, which might have been used for a book 
cover. At bottom is the title N. Senora de Rosario. Curious old 
religious piece in which Spanish and Greek ideas in art combine. 
Oil painting on copper. 8% inches by 634 inches. : 


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